Pomp and Circumstance: Graduation Song Lyrics and Sound Clips This song is available on Ben Stiefel's Graduation Complete A Brief History of Pomp And Circumstance Pomp And Circumstance was composed by Sir Edward Elgar in 1901. At its England premier, the piece was such a huge success that the conductor proclaimed, "The people simply rose and yelled. I had to play it again - with the same result; in fact, they refused to let me go on with the programme. After considerable delay, merely to restore order, I played the march a third time. And that, I may say, was the one and only time in the history of the Promenade concerts that such an orchestral item was accorded a double encore." In 1902, lyrics to Pomp And Circumstance were written by poet and essayist Arthur Christopher Benson to celebrate the crowning of King Edward VII. In the United States of America, Pomp And Circumstance, also known as Land Of Hope And Glory, is currently played at graduation ceremonies as a processional, and often as a recessional as well. The piece is also performed at proms and various prestigious events.

-- Ben Stiefel See all of our School Presentations and Graduation Song Lyrics Many thanks to Ben Stiefel for permission to display these lyric excerpts. © Ben Stiefel. All rights reserved. Used with permission. Sir Edward William Elgar facts, information, pictures | Encyclopedia.com articles about Sir Edward William Elgar The Concise Oxford Dictionary of Music © The Concise Oxford Dictionary of Music 1996, originally published by Oxford University Press 1996. Elgar, (Sir) Edward (William) (b Broadheath, Worcester, 1857; d Worcester, 1934). Eng. composer and cond. He was the son of a mus.-shop proprietor in Worcester who was also an organist, pf.-tuner, and teacher. He showed an early aptitude for mus., learning the org., vn., and other instr. He hoped, on leaving school at 15, to go to Leipzig Cons. but his father could not afford to send him, so after a brief spell in a solicitor's office, he helped his father in the shop and became his ass. organist at St George's RC Church, Worcester. Soon he was playing the vn.

in several local orchs. or chamber groups and became cond. of several. With his brothers and friends he formed a wind quintet, for which he comp. several works. His first comps. had been written during childhood, incl. mus. for a play written and prod. by the Elgar children, The Wand of Youth, which he adapted as 2 orch. suites in 1907–8. In 1877 he went to London for vn. lessons from Pollitzer but abandoned them when he realized he would not become a virtuoso. He played in the 2nd vns. in the 3 Choirs Fest. orch. at Worcester in 1878. The following year he became bandmaster at the county lunatic asylum at Powick where members of the staff played weekly for dances. Elgar made several arrs. of operatic arias for concerts there and also comp. a series of quadrilles. In 1882 he joined the 1st vns. in a Birmingham orch. cond. by W. Stockley, who incl. Elgar's Sérénade mauresque in a concert in 1883.

For the next 6 years, until his marriage in 1889, Elgar was in demand locally in many mus. capacities but he was unknown outside the Midlands apart from a perf. of his Sevillana at a Crystal Palace concert in May 1884. After his marriage to a general's daughter in 1889, Elgar gave up his work in Malvern and Worcester and went to London, but met with no success there. He returned to Malvern a year later to resume his teaching and other activities. In the meantime, however, the 1890 3 Choirs Fest. at Worcester had commissioned a work from him, the concert-ov. Froissart. In 1893 he comp. a secular cantata, The Black Knight, which was the first of a series of choral works taken up by the great Midlands choral socs. Its successors were King Olaf (1896), The Light of Life (1896), and Scenes from the Bavarian Highlands (1896). For Queen Victoria's Diamond Jubilee in 1897 Elgar comp. an Imperial March which Manns cond.

at the Crystal Palace and which the Queen requested should be incl. in the State Concert marking the Jubilee. Its success led to a commission from the Leeds Fest., the result being the large-scale cantata Caractacus (1898). At this time, Elgar was still earning his living as a vn. teacher; his first large-scale London success came in 1899 when Richter cond. the f.p. of the Variations on an Original Theme (Enigma), one of Elgar's greatest and best-known works. A few months later Clara Butt sang the Sea Pictures at the Norwich Fest. Commissioned to write a big choral work for the 1900 Birmingham Fest., Elgar, a Catholic, chose to set Newman's poem The Dream of Gerontius. The f.p. was a failure, but the worth of the mus. was recognized and two Düsseldorf perfs. followed, after the 2nd of which Richard Strauss hailed Elgar as the foremost Eng. composer of the day. From that day there developed an Elgar vogue on the Continent, and several conds. such as Weingartner, Strauss, Steinbach, and Busoni incl. his works in their programmes.

The neglect of the previous 25 years in Eng. was forgotten (though not by Elgar) overnight as he became the most talked-about composer of the day. From 1901 until 1914 were the years of greatest acclaim for Elgar in his lifetime, and he responded with a succession of splendid works incl. the Cockaigne ov., the oratorios The Apostles and The Kingdom, 2 syms., a vn. conc. (for Kreisler ), the Introduction and Allegro for str., the choral ode The Music Makers, and the symphonic study Falstaff. The 1st Sym. (1908) in particular had an astonishing initial success, being perf. 100 times in just over a year in cities as far apart as Manchester, Vienna , St Petersburg, Rome , and Budapest . However, the work which had made him a household name was No.1 of a set of Pomp and Circumstance Marches, f.p. 1901. The splendid tune of the trio section caught the ear of King Edward VII who suggested that it should be set to words.

When in 1902 it emerged in the Coronation Ode as Land of Hope and Glory it soon became clear that Elgar had comp. an alternative nat. anthem. Elgar was knighted in 1904 at age 47, and in 1911 became a member of the OM. He visited the USA to cond. his own works and spent several periods in It. From 1905 to 1908 he was Peyton Prof. of Mus., Birmingham Univ. He was appointed cond. of the LSO for 1911–12 and in 1912 moved from Hereford to a large house in Hampstead. During the 1914–18 war Elgar wrote several patriotic works, including the recitation with orch. Carillon, the symphonic prelude Polonia, and the Binyon settings The Spirit of England . He also wrote incidental mus. for a children's play, The Starlight Express, and a ballet The Sanguine Fan. In 1918–19 he wrote 3 chamber works, a vn. sonata, str. qt., and pf.

quintet, and a vc. conc. These were to be his last major works. In 1920 his wife died and for the last 14 years of his life he wrote hardly anything that was not concocted from earlier sketches. In this last period he prod. incidental mus. for 2 plays, Arthur and Beau Brummel, a 5th Pomp and Circumstance march, the Nursery Suite, and the Severn Suite. He was at work on a Ben Jonson opera, The Spanish Lady, and a 3rd sym. at the time of his death. In 1923 he returned to live in Worcestershire and often appeared throughout the country as cond. of his own works. He became Master of the King's Musick in 1924 and was created a baronet in 1931. He was the first great composer to realize the possibilities of the gramophone and from 1914 to 1933 made many recordings of his own mus. which are important historical documents, the most celebrated being that of the vn. conc. made in 1932 with the 16-year-old Menuhin .

KCVO 1928. GCVO 1933. Elgar's greatness as a composer lies in his ability to combine nobility and spirituality of utterance with a popular style. Side by side with his large-scale works are dozens of lighter pieces distinguished by melodic charm and fine craftsmanship. Learning entirely by the practical experiences of his youth, he became one of the supreme masters of the orch., but his command of choral effects in his masterpiece The Dream of Gerontius is no less wonderful. His harmonic language derives from Schumann and Brahms coloured by the Wagnerian chromaticism endemic to his generation, the whole being lightened by a gracefulness akin to Bizet and Saint-Saëns. Like his personality, his mus. veers from extrovert warmth and geniality to a deep introspective melancholy. His prin. works are:THEATRE (incl. recitations): Incidental mus., funeral march, and song for Grania and Diarmid ( Yeats and Moore), Op.42 (1901); The Crown of India , masque, Op.66 (1902–12); Carillon , Op.75, reciter, orch.

(1914); incidental mus. for The Starlight Express ( Blackwood and Pearn), Op.78 (1915); Une voix dans le désert, Op.77, reciter, sop., orch. (1915); The Sanguine Fan , ballet, Op.81 (1917); Le drapeau belge, Op.79, reciter, orch. (1917); incidental mus. to Arthur ( Binyon) (1923); incidental mus. to Beau Brummel ( Matthews) (1928).ORCH.: Froissart , Op.19 (1890), Serenade for str.

in E minor, Op.20 (1892); Sursum Corda , Op.11 (1894); Imperial March, Op.32 (1897); Enigma Variations , Op.36 (1898–9); Pomp and Circumstance Marches, Op.39, No.1 in D major, No.2 in A minor (1901), No.3 in C minor (1904), No.4 in G major (1907), No.5 in C major (1930); Cockaigne , Op.40 (1900–1); In the South (Alassio), Op.50 (1904); Introduction and Allegro for str., Op.47 (1905); The Wand of Youth Suites Nos. 1 and 2, Opp. 1a and 1b (1907 and 1908 respectively); sym. No.1 in A♭ major, Op.55 (1907–8); Elegy for str., Op.58 (1909); vn. conc.

in B minor, Op.61 (1909–10); Romance for bn., Op.62 (1910); sym. No.2 in E♭ major, Op.63 (1903–11); Coronation March, Op.65 (1911); Suite, Crown of India , Op.66 (1912); Falstaff , Op.68 (1902–13); Sospiri for str., hp., org., Op.70 (1914); Polonia , Op.76 (1915); vc. conc. in E minor, Op.85 (1918–19); Empire March (1924); Severn Suite , Op.87, brass band (1930), for orch.

(1932); Nursery Suite (1931).VOICES & ORCH.: The Black Knight , cantata, Op.25 (1889–93); Scenes from the Bavarian Highlands , Op.27 (1896); The Light of Life (Lux Christi), oratorio, Op.29 (1895–6, rev.

1899); Scenes from the Saga of King Olaf , cantata, Op.30 (1894–6); The Banner of St George , ballad, Op.33 (1896–7); Caractacus , cantata, Op.35 (1898); The Dream of Gerontius , Op.38 (1899–1900); Sea Pictures , song-cycle, mez., orch., Op.37 (1897–9); Coronation Ode , Op.44 (1902); The Apostles , oratorio, Op.49 (1901–3); The Kingdom , oratorio, Op.51 (1901–6); 3 Songs with orch., Op.59 (1909–10); The Music Makers , choral ode, Op.69 (1902–12); The Spirit of England , Op.80 (1915–17).PART-SONGS & CHURCH MUSIC: Ave, verum corpus, Op.2, No.1 (1887); Ecce sacerdos

 magnus, ch., org.

(1888); My love dwelt in a northern land (1889); Spanish Serenade, Op.23 (1891, with orch.

1892); Te Deum and Benedictus, Op.34 (1897); The Sword Song, from Caractacus (1898); To her beneath whose steadfast star (1899); Weary Wind of the West (1902); 5 Part-Songs from the Greek Anthology, Op.45 (1902); Evening Scene (1905); 4 Part-Songs, Op.53 (1907); The Reveille, Op.54 (1907); Angelus, Op.56 (1909); Go, Song of Mine, Op.57 (1909); O hearken thou, offertory, Op.64 (Coronation 1911); Great is the Lord (Psalm 48), Op.67 (1912); Give Unto the Lord (Psalm 29), Op.74 (1914); 2 Choral Songs, Op.71 (1914); Death on the Hills, Op.72 (1914); 2 Choral Songs, Op.73 (

1914); The Wanderer and Zut, zut, zut (1923).CHAMBER MUSIC: Promenades for wind quintet (1878); Harmony Music, wind quintet (1879); Allegretto on GEDGE, vn., pf.

(1885); Salut d'Amour , Op.12, for pf. solo, for vn. and pf., for orch., and in many other arrs. (1888–9); Liebesahnung, vn., pf. (1889); La Capricieuse, Op.17, vn., pf. (1891); Very Easy Melodious Exercises in the 1st Position, Op.22, for vn. (1892); Études caractéristiques, Op.24, vn. (1882–92); Chanson de Nuit, Chanson de Matin, Op.15, Nos. 1 and 2, vn., pf. (later orch.) (No.1 pubd. 1897, No.2 pubd. 1899); vn. sonata in E minor, Op.82 (1918); str. qt. in E minor, Op.83 (1918); pf.

quintet, Op.84 (1918–19).SHORT PIECES FOR SMALL ORCH.: Cantique, Op.3 (1912 orch. of 1897 organ solo Adagio solenne); Rosemary (1914 orch. of 1882 pf. solo); Sevillana , Op.7 (1884); Salut d'Amour, Op.12 (1888); 3 Bavarian Dances, Op.27 (Nos. 1, 3, and 6 of From the Bavarian Highlands) (orch. 1897); Minuet, Op.21 (1899 orch. of 1897 pf. solo); Chanson de Nuit; Chanson de Matin, Op.15, Nos. 1 and 2 (1901 orch.); Sérénade lyrique (1899); Dream Children, Op.43 (1902); Carissima (1913); Minuet (Beau Brummel) (1928); Mina (sketched for pf.

1932, orch. 1933).SOLO SONGS: Through the long days (1885); The Wind at Dawn (1888); Queen Mary's Song (1889); Like to the Damask Rose (1893); Shepherd's Song (1893); Rondel (1894); After (1895); Love Alone Will Stay (incorporated into Sea Pictures as In Haven) (1897); Pipes of Pan (1900); In the Dawn; Speak, Music (1902); Land of Hope and Glory (1902); Pleading (1908); The Torch; The River (1909–10); The Fringes of the Fleet (1917); and many more.PIANO: Rosemary (Douce Pensée) (1882, orch. 1914); May Song (1901, orch.

1928); Concert Allegro, Op.46 (1901); Dream Children, Op.43 (1902); Skizze (1903); In Smyrna (1905); Echo's Dance (from Sanguine Fan) (1917); Sonatina (1889, rev. 1930); Adieu (1932); Serenade (1932).ORGAN: 11 Vesper Voluntaries, Op.14 (1889–90); Sonata in G major, Op.28 (1895); Sonata No.2, Op.87a (arr. by Atkins of Severn Suite) (1932–3).TRANSCRIPTIONS FOR ORCH.: J. S. Bach: Fugue in C minor (Elgar Op.86) f.p. London 1921; Fantasy in C minor, f.p. Gloucester 1922; Handel: Overture in D minor, f.p. Worcester 1923; Chopin: Funeral March from Pf.

Sonata in B♭ minor, 1933.UNCOMPLETED: sym. No.3, Op.88 (begun c.1932); The Spanish Lady , opera, Op.89 (begun c.1932); pf. conc., Op.90 (sketches date from 1909). Cite this article Pick a style below, and copy the text for your bibliography. MLA COPYRIGHT 2004 The Gale Group Inc. Sir Edward Elgar The works of the English composer Sir Edward Elgar (1857-1934) ushered in the modern flowering of English music. His work is characterized by brilliant orchestration and impressive craftsmanship. Edward Elgar was born on June 2, 1857, in Worcester. His father played the organ and directed the choir in St. George's Catholic Church, was a violinist in local orchestras, and ran a music store. This musical ambience was school and conservatory for Edward, who received no formal musical education except for a few violin lessons.

He served his apprenticeship as a church organist, choirmaster, and director of amateur orchestras and the band of the county mental institution. The focus of musical activity was the annual choir festival, when distinguished conductors and soloists performed oratorios by George Frederick Handel and Felix Mendelsohn, as well as newly commissioned works, with the local choir. Elgar's earliest works were for his church choir, and in later years his most important compositions were large oratorios commissioned for choir festivals. Through these performances he became known throughout England. His first important orchestral piece was the Enigma Variations (1899). The "enigma" refers to the theme on which the variations are written, a countertheme to an unnamed and unplayed melody. There have been many conjectures about the mysterious theme, but its identity has never been determined. Each of the variations is labeled with the initials or nickname of friends of the composer, and each variation is a musical character sketch. The piece is beautifully orchestrated and written. Elgar's choral masterpiece is The Dream of Gerontius (1900). Written to a religious poem by Cardinal Newman, it is perhaps the finest English composition of the Victorian era.

It is Wagnerian in its use of leitmotivs characterizing the protagonists and situations, the rich, chromatic harmony, and the masterful orchestral writing. Other important works by Elgar are the Violin Concerto (1910) and two overtures, Cockaigne (1910) and Falstaff (1913). His best-known piece is Pomp and Circumstance No. 1 (1901), a concert march from which the patriotic hymn "Land of Hope and Glory" was written. Its honest, brilliant tunes epitomize the optimism of Edwardian England. Elgar was knighted in 1904 and named master of the king's music in 1924. By the time of his death on Feb. 23, 1934, in Worcester, the younger 20th-century composers had made his music seem old-fashioned. Later evaluations, however, have been more generous, and Elgar's place in music seems once again assured. Further Reading The best works on Elgar are W. H.

Reed, Elgar (1939), which includes analyses of three major works; Diana McVeagh, Edward Elgar: His Life and Music (1955); Percy Marshall Young, Elgar, O. M.: A Study of a Musician (1955), a biography which emphasizes his music; and Michael Kennedy, Portrait of Elgar (1968), a study of his character. A good background study which discusses Elgar's work is Joseph Machlis, Introduction to Contemporary Music (1961). Additional Sources The Columbia Encyclopedia, 6th ed. Copyright The Columbia University Press Sir Edward William Elgar (ĕl´gär), 1857–1934, English composer. He received his training from his father, who was an organist, music seller, and amateur violinist. In 1885 he succeeded his father as organist of St. George's Church, Worcester. Elgar was also a violinist, bassoonist, arranger, and conductor. Imperial March, composed in 1897 for Queen Victoria's diamond jubilee, brought him recognition.

Among his compositions are Variations on an Original Theme (1899; known as Enigma Variations); The Dream of Gerontius (1900), a cantata using Cardinal Newman 's poem as a text; two symphonies (1908, 1911); the Cello Concerto (1919); and the Violin Concerto in B minor (1910). His most popular works are his five Pomp and Circumstance marches (1901–30), the first of which is the famous Land of Hope and Glory. Elgar's style, influenced by German romanticism, is marked by a majestic grandeur and sure musical craftsmanship. He was knighted in 1904 and became Master of the King's Music in 1924. See selected letters ed. by P. M. Young (1965); biographies by P. M Young (1955), J. F. Porte (1921, repr. 1970), R. Burley and F. C. Carruthers (1972), M. Kennedy (2004), and D.

McVeagh (2007). Cite this article Pomp and Circumstance March No 4 in G major, Op 39 (Elgar/Sinclair) - from CDA66676 - Hyperion Records - MP3 and Lossless downloads Full menu (site map) Welcome to Hyperion Records, an independent British classical label devoted to presenting high-quality recordings of music of all styles and from all periods from the twelfth century to the twenty-first. Hyperion offers both CDs, and downloads in a number of formats. The site is also available in several languages. Please use the dropdown buttons to set your preferred options, or use the checkbox to accept the defaults.

Don't show me this message again Track(s) taken from CDA66676 Pomp and Circumstance March No 4 in G major, Op 39 composer Total duration: 5 minutes 47 seconds Reviews 'An organ, the mere sound of which can send shivers down the spine … breathtaking … another splendid disc as thrilling and truly spectacular as they, or anyone else for that matter, have so far produced' (Gramophone) Introduction Deutsch The most famous of Elgar’s Pomp and Circumstance Marches is the first of the five, which has the melody ‘Land of hope and glory’, but the fourth contains a tune which lingers in the memory and arouses deep patriotic emotions to a similar extent. The marches were composed during the first decade of the twentieth century, the Edwardian era when the British Empire enjoyed its greatest spread of colour in the world atlas.

Elgar once declared that part of the role he saw for himself as a composer was to write music which stirred the popular imagination, tunes to accompany pageantry, and to have, as Shakespeare had Othello say, ‘all the quality, pride, pomp and circumstance of glorious war.’ Elgar himself conducted the first performance of the fourth Pomp and Circumstance March in 1907. The famous nobilmente melody of the central trio was a product of the same year, but other sections had their origins in music he wrote for a family play (The Wand of Youth) when he was only twelve years old. He dedicated the piece to George Robertson Sinclair, organist of Hereford Cathedral at the time, and one of the conductors associated with the Three Choirs Festival where choral works by Elgar and his contemporaries were performed. It was not the first piece to be dedicated to Sinclair, although the eleventh of the ‘Enigma’ Variations (‘G.R.S.’) has more to do with the antics of the organist’s bulldog than the man himself.

Sinclair arranged his friend Elgar’s Pomp and Circumstance March so that he could enjoy it in the organ loft as well as in the concert hall. from notes by Ian Carson ï¿½ 1994 La plus célèbre des marches Pomp and Circumstance d’Elgar est la première des cinq, qui comprend l’air de «Land of hope and glory», mais la quatrième renferme une mélodie qu’il est difficile d’oublier et qui suscite aussi de profondes émotions patriotiques. Ces marches furent composées pendant les dix premières années du XXe siècle, l’époque du roi Edouard VII, alors que l’Empire britannique couvrait une grande partie de l’atlas mondial.

Edgar déclara un jour qu’il concevait en partie son rôle de compositeur comme la création de musique qui touche l’imagination populaire, d’airs pour accompagner les cérémonies d’apparat, avec, comme Shakespeare le fait dire à Othello, «all the quality, pride, pomp and circumstance of glorious war» («la qualité, la fierté, et le grand apparat d’une guerre glorieuse»). Elgar dirigea lui-même la première audition de la quatrième marche Pomp and Circumstance, en 1907. La célèbre mélodie nobilmente du trio central avait été composée la même année, mais d’autres passages provenaient de musique qu’il avait écrite à l’âge de douze ans pour une pièce d’amateur jouée en famille (The Wand of Youth: «la baguette magique de la jeunesse»).

Il dédia la Marche à George Robertson Sinclair, qui était organiste de la Cathédrale de Hereford à l’époque, et l’un des chefs d’orchestre participant au Three Choirs Festival où on présentait les oeuvres chorales d’Elgar et de ses contemporains. Ce n’était pas le premier morceau qu’il dédiait à Sinclair, mais la onzième des «Enigma Variations» («G.R.S.») était inspirée plutôt par les gambades du bouledogue de l’organiste que par l’homme lui-même.

Sinclair fit un arrangement de la marche Pomp and Circumstance de son ami Elgar «pour qu’il puisse avoir le plaisir de l’entendre à la tribune de l’orgue aussi bien qu’en concert.» extrait des notes rï¿½digï¿½es par Ian Carson ï¿½ 1994 Franï¿½ais: Madeleine Jay Der berühmteste von Elgars fünf Märschen Pomp and Circumstance (Pomp und Prunk) ist der erste Marsch mit der Melodie des berühmten englischen Liedes „Land of Hope und Glory“, doch enthält dieser vierte Marsch auch eine Melodie, die im Gedächtnis bleibt und ähnliche patriotische Gefühle bei den Briten auslöst. Elgar komponierte die Märsche im ersten Jahrzehnt dieses Jahrhunderts, der sogenannten „Edwardian Era“, als das britische Reich seine größte Ausdehnung genoß.

Elgar erklärte einmal, daß er seine Rolle als Komponist teilweise darin sah, Musik zu schreiben, die die Phantasie des Volkes ansprach, und Melodien zu komponieren, die das festliche Gepränge untermalen sollten und in den Worten von Shakespeares Othello „alle Eigenschaften, den ganzen Stolz, Pomp und Prunk („Pomp and Circumstance“) eines glorreichen Krieges“ habe. Elgar selbst dirigierte die erste Aufführung des vierten Marsches Pomp and Circumstance im März 1907. Die berühmte nobilmente-Melodie des Mitteltrios entstand im gleichen Jahr, doch andere Teile entstammen der Musik, die er im Alter von 12 Jahren für ein Theaterstück im Familienkreise (The Wand of Youth) geschrieben hatte. Der Marsch wurde George Robertson Sinclair gewidmet, damals Organist an der Hereford Cathedral und einer der drei Dirigenten des Three Choir Festivals, auf dem Chorwerke von Elgar und seinen Zeitgenossen aufgeführt wurden.

Dieser Marsch ist nicht das erste, Sinclair gewidmete Werk, auch die elfte der „Enigma“-Variationen („G.R.S“) ist es, doch bezieht diese sich mehr auf die Possen seiner Bulldogge als auf den Organisten selbst. Sinclair bearbeitete Pomp and Circumstance, damit er sich an ihm nicht nur im Konzertsaal, sondern auch auf der Orgelempore erfreuen konnte. aus dem Begleittext von Ian Carson ï¿½ 1994 Deutsch: Eike Hibbett Elgar - Pomp and Circumstance Op.39 sheet music for piano solo ( 7 user reviews ) "I went to several websites on my quest for sheet music to "Pomp and Circumstance" to play for Graduation Sunday at church. I kept looking because the sites were not "user friendly".

I am not the most savvy person on the..." [show more] About Elgar - Pomp and Circumstance Op.39 sheet music for piano solo: High quality Digital sheet music for piano, from Military Marches Op.39 This item includes: PDF (digital sheet music to download and print), Interactive Sheet Music (for online playing, transposition and printing), MIDI and Mp3 audio files* Genre: classical, graduation Pages: 12 (actual music: 9 pages) This item is also available for other instruments or in different versions: The Graduation Song by Ryan on May 8, 2012 @10:40 am PST This is the entire piece that contains the traditional graduation march....known as Pomp and Circumstance. I actually only needed to use that portion of the piece. It worked fine for my purposes. Best version available on internet by Mariah on June 4, 2010 @11:02 am PST I ordered this version for a high school graduation ceremony and it worked very well as a substitute for a band or orchestra version.

The score is the complete march, not just the commonly-heard theme, and the transcription can be handled by a medium to advanced pianist. Perfect by Chris on February 15, 2010 @12:36 pm PST This is an outstanding transcription of a truly great piece of music. I had thought it could only work in its full orchestral version but, having tried out the transcription, I can see it works for piano too. I wonder if Elgar himself arranged it? (The manuscript doesn't say.) One small note of caution: although the famous tune (Land of Hope and Glory, aka the graduation march in the US) is easy to play, the faster sections are quite difficult. Unless you're a virtuoso and/or a professional, those bits will need some work! Overall, though, this is first class. You'll appreciate the greatness of the music even more when you actually play it. Excellent arrangement by Craig Matteson on August 5, 2009 @2:41 am PST If you want to play the ENTIRE work, this arrangement provides an excellent, if somewhat challenging, version of Elgar's famous work.

That is, you get the full Pomp before you get to the famous processional march, the Circumstance. Then there is a recap of the Pomp and it finishes with a big version of the Circumstance. Of course, what we Americans call the graduation march, is known in the United Kingdom (or used to be known as) "Land of Hope and Glory". While this version requires some real skill at the piano, it can be mastered by someone who has some chops or is willing to work at what is asked of them. I think it is a bit more than medium difficulty, but certainly doesn't demand a virtuoso technique. The point is that this a complete version of the work and is an arrangement that is worth playing. Need Pomp and Circumstance for a Graduation? by Chris Pawlowski on June 9, 2009 @4:53 am PST I believe this is the Elgar score as written. I got the graduation gig at the last minute by order from the principal, so there was no prep time. I had to forget the preliminary section, which needed practice, and cycled the familiar melody. Worked great! Easy to sight-read...

by Melissa on June 9, 2007 @6:58 am PST the "Pomp and Circumstance" section (or little practice needed) for accompanist. She will appreciate the clarity of the arrangement and the ease of making it adaptable to all lengths of processionals. Our accompanist linked the two slower processional sections with beautiful modulations, and added the ending of the song as well; it was perfect!

Question: Elgar's 'Pomp And Circumstance Marches' were the basis for which patriotic piece of music?
Answer: 'LAND OF HOPE AND GLORY'